John Harris

Name

Year

Credit

credited As

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Lou Reed's Berlin

Sound/Sound Designer

n/a

1

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What ‘Sleepy Hollow’ Can Teach Fox About Audacious Television

FOX Broadcasting Co.
On paper, Sleepy Hollow sounds like a hot mess. The show reimagines the old legend with a sexy Ichabod Crane, a headless horseman charged with ushering in the apocalypse. Toss in John Cho from Harold and Kumar as a zombie, and a liberal sprinkling of clues found in the Bible of George Washington. Yes, that George Washington. But in practice, the show has become one of the biggest hits of the season. With the finale notching nearly 7 million viewers, Sleepy Hollow was certainly one of the most unique, entertaining, and audacious offerings of the season.
At the Television Critics Association press tour, Fox chairman Kevin Reilly declared the death of Fox’s traditional pilot season. Pilot season is when most networks choose their shows for the new season. Some of the pilots ordered will go to series and some will not, but the process is harrowing for creatives. Reilly pointed out this process isn’t conducive to the kind of interesting, ground-breaking, and watercooler chat-worthy programming Fox wants to develop. Instead, the station is going to adopt a cable approach to programming.
What does this have to do with Sleepy Hollow? As one of the most original offerings of the new season (and one of the best), Sleepy Hollow rose above the fray of new shows because it was truly audacious.
While Fox is throwing away their pilot season, they should also be taking notes on what makes great shows like Sleepy Hollow into critically beloved smashes. Here are four important lessons from Ichabod and Abbie:
1. Don’t be afraid to get weird.Sleepy Hollow has far and away one of the weirdest premises of any show on television. Most networks shy away from anything too crazy. They instead look for TV comfort food, something audiences are familiar with. The problem? Competition from an expanding cable universe, and now even streaming sites, mean audiences are becoming less interested in comfortable. Don’t be afraid to embrace concepts way, way left of center.
2. Do something no one else is doing.There are a million shows on television about cops, lawyers, serial killers, and doctors. There’s no way to stand out from the pack in this format. Those professions are interesting, sure, but those stories have been told a million times and a million different ways. One of the reasons Sleepy Hollow stood out this fall season is because it looked like nothing else on television.
3. Promote diversity.Diversity on the small screen is important, yet television is still overwhelmingly white. Sleepy Hollow is an incredibly diverse show, with actors of all different colors playing major roles in the narrative. The small screen needs more figures like Abbie Mills. The characters of color on Sleepy Hollow aren’t just sidekicks, like you might find on most other programs, they’re three-dimensional people. As mentioned, audiences are tired of seeing the same thing every week on screen. Representation is important, and diversity opens up new avenues for storytelling.
4. Have fun.During Sleepy Hollow’s first season, Ichabod Crane wore skinny jeans, bonded with an On Star agent, and was downright horrified to learn what Thomas Jefferson was up to in his free time. The show might have been non-stop action and adventure, but it wasn’t afraid to have fun. Some television shows take themselves much too seriously and drown in their own dour glominess. Sleepy Hollow reveled in its camp appeal, while always staying true to its story. If Fox is looking for another audacious hit, fun should be part of the equation.
What do you think? What are some lessons Fox can learn from Sleepy Hollow? Share in the comments!

Former child star Nicholas Hoult is to lead the cast in the movie adaptation of John Niven's bestseller Kill Your Friends. Owen Harris will direct the project, which is set in the music industry at the height of Britpop in 1990s.
Niven's 2008 novel was based on his own experiences as an A&R man for prominent record labels in London.
Both Robert Pattinson and Rafe Spall had previously been linked to the role of Steven Stelfox in the film.

Singer Ellie Goulding has overtaken Bastille and Disclosure as the most-nominated act for the 2014 Brit Awards after scoring a double mention in the newly-released shortlist for Best Video. The pop star's promos for Burn and I Need Your Love, her collaboration with Calvin Harris, will go up against One Direction's Best Song Ever, John Newman's Love Me Again, and Naughty Boy and Sam Smith's La La La.
Voting will be open to the public via Twitter.com at the start of the prizegiving, which will take place in London on 19 February (14).
The recognition takes Goulding's tally for nods for the 2014 Brit Awards to five - her two songs are also in the running for British Single, while she is up for the title of British Female.
Rockers Bastille and dance duo Disclosure previously led the pack with four nominations apiece.

FOX Broadcasting Co.
After one fist-clencher of a finale, the recent Sleepy Hollow casting news is pretty darn interesting. What to make of the fact that John Noble and Lyndie Greenwood are now series regulars? Warning: spoilers for the first season abound below.
Now that Abbie's sister Jenny Mills seems to be a permanent part of the show's Scooby gang, Greenwood's new slot is less surprising. The growing closeness of the sisters seemed to spell certain doom for Jenny, so we're just thrilled she made it out of the season finale alive. And, unless the show's creators are trying to fake us out and destroy us emotionally, she'll also survive the Season 2 premiere and the resolution of that merciless cliffhanger. Looks like the other Miss Mills will be around to assist Abbie and Ichabod in their defense against the dark forces of Sleepy Hollow for quite a while.
What's really interesting/disturbing is the permanent placement of John Noble. His character — the man we knew as Henry Parrish — was revealed in the two-part finale to be not only Katrina and Ichabod's son Jeremy, but also the Second Horseman. (A must-add to our list of scariest Sleepy monsters.) And once he made his Bond-villain-style confession, Jeremy buried his father alive and trapped Abbie in a giant, creepy dollhouse. We don't know how our heroes will make it out of their respective prisons, but we now know that Jeremy won't be completely vanquished anytime soon. Then again, we're talking about Sleepy Hollow here, so let's not rule out body-switching or talking corpses or any other method of keeping Noble around while still getting rid of the bad guy.
What do you think this casting means for the second season of Sleepy? Leave your predictions in the comments.
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AMC
Wednesday night treated America to President Barack Obama's fifth State of the Union address, a speech lined with criticism of our country's immigration system, economic policies, and established plans about how to move forward regarding the Middle East crisis. But towards the tail end of the speech, the Commander-in-Chief spouted a moment of levity, proving himself to be (at the very least) this generation's president when he tossed in a television reference. And no, not a square one, like Bush Sr.'s castigation of The Simpsons — Obama made a Mad Men joke.
"Today, women make up about half our workforce. But they still make 77 cents for every dollar a man earns. That is wrong, and in 2014, it's an embarrassment. A woman deserves equal pay for equal work," the president said. "She deserves to have a baby without sacrificing her job. A mother deserves a day off to care for a sick child or sick parent without running into hardship – and you know what, a father does, too. It's time to do away with workplace policies that belong in a Mad Men episode. This year, let’s all come together — Congress, the White House, and businesses from Wall Street to Main Street — to give every woman the opportunity she deserves. Because I firmly believe when women succeed, America succeeds."
The proclamation invoked a sweeping applause in house and throughout the country — there's nothing like a good new media allusion to drive home a point. But less is more, in this case. We have it on good (fake) authority that Obama had to edit out a few other television references from the first draft of his latest SOTU...
Getty
- "Estiven Rodriguez couldn’t speak a word of English when he moved to New York City at age nine. But last month, thanks to the support of great teachers and an innovative tutoring program, he led a march of his classmates — through a crowd of cheering parents and neighbors — from their high school to the post office, where they mailed off their college applications. And this son of a factory worker just found out he’s going to college this fall. And if you think that's impressive, let me tell you about a simple chemistry teacher who turned himself into a billionaire by pioneering his own crystal meth empire..."
- "Today in America ... a farmer prepared for the spring after the strongest five-year stretch of farm exports in our history. A rural doctor gave a young child the first prescription to treat asthma that his mother could afford. A man took the bus home from the graveyard shift, bone-tired but dreaming big dreams for his son. And in tight-knit communities across America, fathers and mothers will tuck in their kids, put an arm around their spouse, remember fallen comrades, and give thanks for being home from a war that, after 12 long years, is finally coming to an end... just like How I Met Your Mother. Thank God, am I right? Seriously, that show feels like it's been on forever. Come on, Ted, finish the story already."
- "Today, after four years of economic growth, corporate profits and stock prices have rarely been higher, and those at the top have never done better. But average wages have barely budged. Inequality has deepened. Upward mobility has stalled. The cold, hard fact is that even in the midst of recovery, too many Americans are working more than ever just to get by – let alone get ahead. And too many still aren't working at all. I mean, look at Marnie. She can't even hold a job at Ray's coffee shop — and no, Boehner, it doesn't count as a spoiler if it's been 48 hours since the episode aired!"
- "Tonight, I ask every business leader in America to join us and to do the same — because we are stronger when America fields a full team. Even if you get a lousy draft, you can always propose an eight-way trade. That's what Ruxin has taught us."
- "These negotiations will be difficult. They may not succeed. We are clear-eyed about Iran’s support for terrorist organizations like Hezbollah, which threaten our allies; and the mistrust between our nations cannot be wished away. But these negotiations do not rely on trust; any long-term deal we agree to must be based on verifiable action that convinces us and the international community that Iran is not building a nuclear bomb. If John F. Kennedy and Ronald Reagan could negotiate with the Soviet Union, then surely a strong and confident America can negotiate with less powerful adversaries today. And if Francis Underwood can convince all of those people to keep their mouths shut about that murder... dammit, Boehner, it's been like a year, catch up already!"
- "What Andra and her employees experienced is how it should be for every employer — and every job seeker. So tonight, I’ve asked Vice President Biden to lead an across-the-board reform of America’s training programs to make sure they have one mission: train Americans with the skills employers need, and match them to good jobs that need to be filled right now. Like spying, and killing, and planting bugs in Senators' offices in the name of Mother Russia ... you guys get it? That's a The Americans joke. Because I said "Americans." They're spies. You guys watch that show? No? It's pretty good."
- "My fellow Americans, no other country in the world does what we do. On every issue, the world turns to us, not simply because of the size of our economy or our military might — but because of the ideals we stand for, and the burdens we bear to advance them. And that's why we are the most a-mah-zing country in the world ... God, I miss Happy Endings."
If only...
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Universal Pictures
Seth MacFarlane: writer, director, producer, Oscars host, and now, novelist. The Family Guy creator announced that he has written a novel based on the screenplay for his upcoming film, A Million Ways to Die in the West, and will release it in March, two months before the film hits theaters in May. The book will tell the story of Albert Stark, a sheep farmer who spends most of his time attempting to avoid the overwhelming dangers that fill the wild west in order to survive, until his girlfriend leaves him, and "Albert decides to fight back—even though he can’t shoot, ride, or throw a punch. Fortunately, he teams up with a beautiful gunslinger who’s tough enough for the both of them. Unfortunately, she’s married to the biggest, meanest, most jealous badass on the frontier. Turns out Albert has just discovered a million and one ways to die in the West."
Turning the film into a novel is an unusual choice, since MacFarlane's comedic style tends to rely on rapid-fire jokes and visual gags that may be difficult for him to translate from the screen into print. Since he wrote the novelization himself, it's very likely that those jokes will have made it into the book, but the story will need to have a little bit of depth or character development in order to work properly as a novel. However, turning the film into a novel could be a good sign, as it can be taken as an indication that the film has a lot more to it than just an endless stream of jokes. There's been no indication thus far that MacFarlane has added material for the novel, which means we all might need to get excited about A Million Ways to Die in the West.
But as weird as it might seem to read a novel from the same guy who wrote Family Guy or Ted, A Million Ways to Die in the West is not the strangest or most surprising film novelization out there. We've rounded up 12 of the weirdest ones, and ranked them in order of insanity. Looks like MacFarlane has a lot to live up to with this project.
12. Pretty In Pink If you've ever watched the classic 1986 film and wished that Andie had chosen her dorky, loyal best friend Duckie over rich kid Blaine at the end, we may have the perfect solution for you. The novelization of the film sticks with the original ending, and allows Duckie to live the dream of every awkward, poorly-dressed high school guy and win the girl of his dreams away from the obnoxious kid with good hair and a nice car. The downside, though, is that unlike the screenplay, it isn't written by John Hughes, which means it likely lacks some of the wit and heart that characterizes his film. But that's a small price to pay to watch the nerd emerge victorious.
11. Kazaam Remember when Shaquille O'Neal decided to try his hand at acting in the late 1990s, and the world was gifted with Kazaam? Well, it should come as no surprise to you, then, that movie executives realized that school children all across the country would buy anything with O'Neal's face on it, and churned out a novelization of the film in order to sell it at book fairs. Unlike most film novelizations, there are no significant changes or additions to the book, probably because there is very little that can be done to that script in order to make it worth reading, but that didn't stop it from flying off the shelves of every elementary school library around.
10. Great Expectations Long before he stranded Sandra Bullock in space, Alfonso Cuaron directed an adaptation of Great Expectations starring Ethan Hawke and Gwyneth Paltrow. Then, someone adapted that adaptation into a novel that is even more "loosely" based on the Dickens classic. Although both the film and the novel make a lot of interesting and strange changes in order to modernize the story, the most inexplicable decision comes from author Deborah Chiel, who changed the name of the protagonist to Johnny from Fin (itself a change from the original name, Pip.) Dickens likely turned over in his grave when this hit bookshelves.
9. Crossroads The 2002 film Crossroads was notable not for its script, acting or cinematography but simply for the fact that it was the acting debut of pop princess Britney Spears. Which makes it even more surprising that someone would turn the film into a novel, as it then loses the one thing that made it worth talking about. Sure, Spears' face is on the cover, but the only reason to see the film was to watch her attempt to transition into a film career, and then sing along every time one of her songs played on the soundtrack. The book even takes away the joy that comes with watching Dan Akyroyd act in a Britney Spears film. It's all plot and no fun.
8. The Cabin in the Woods Co-written by Joss Whedon, this 2012 film was designed as a way to "revitalize the slasher film," and featured a surprise twist that thrilled fans and critics alike. But in case you're uncomfortable with too much gore, or you just never got to catch the film in theaters, there's a novelization of the film available so that you can still talk about the film without having to watch people get decapitated. It's the best of both worlds!
7. Mortal Kombat If there's one thing that old-school video games lacked, it's a strong sense of plot and character development. Jeff Rovin has remedied that by turning the video game Mortal Kombat into a novel, although he cut out most of the fighting in favor of backstory and long explanations of how the character came to be the super-powered fighting machines that they are. Which is cool if you're a hard-core fan, but let's be real, here: the only reason anyone was interested in Mortal Kombat was the fighting. Without that, what's the point?
6. John Carter John Carter is the story of a Civil War captain who gets transported to Mars after he dies, and leads a Martian army to save the princess. With it's mix of sci-fi and action, it makes sense that movie executives would want to turn the film into a novel; what doesn't make sense, though, is why they would choose to publish it alongside A Princess of Mars, the original Edgar Rice Burroughs story that it is based on, especially when the film famously failed to live up to its source material. You would think that the last thing they would want to do is draw attention to the ways the stories differed.
5. Paradise AlleyThis is a novelization of a film that was written and directed by Sylvester Stallone, adapted by Stallone himself, which makes it worthy of this list. You can actually own a book authored by the guy who played Rocky Balboa. What a time to be alive.
4. Spaceballs For some reason, Mel Brooks seem to think that his film Spaceballs would make an excellent children's book - which is not a thought that anyone who has ever seen Spaceballs shares. However, Brooks ignored everyone else, and the novelization was published, and sold to students in elementary schools across the country through Scholastic Book catalogs and school book fairs. Of course, they made sure to edit the content down to a more child-friendly nature, but anyone who's buying a Sapceballs book is probably not a child.
3. Ace Ventura: Pet Detective and Ace Ventura 2: When Nature Calls Everything that makes Ace Ventura work as a film is everything that makes it fail as a novel. The humor relies so heavily on Jim Carrey's physicality and line delivery, that without the visual element, all that's left are descriptions of the weird gags that take place in the film, which isn't fun or funny for anybody who reads these.
2. The Cat in the Hat No, we didn't make a mistake. Someone actually thought it was a good idea to turn the Mike Myers film into a novel, despite the fact that there is a book that already exists that is better written and more fun to read than the movie itself. When it comes to a showdown between the original Cat in the Hat and any kind of pale imitation, Dr. Suess will always walk away the winner. There's a reason it's become a classic, and it has nothing to do with Myers.
1. Howard the Duck Nobody who has ever watched Howard the Duck has wished that the story lasted longer. Nobody. But the strangest thing about this novelization isn't the fact that it exists in the first place, but the fact that it is widely regarded to be better than its source material, and even adds extra layers of depth and humor to the characters and story that appears onscreen. That's right: Howard the Duck has hidden layers. Who'd have known?
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WENNThe BRIT Awards may no longer be the must-see event it was in the 90s, but it's still by far the British music industry's biggest night. Here's a look at the list of this year's nominees and the acts who should perhaps start preparing their acceptance speeches ready for February 19. British Male Solo ArtistDavid Bowie, Jake Bugg, James Blake, John Newman, Tom OdellConsidering the BRITs' reputation for awarding sales over talent, it's surprising but pleasing to see that both Gary Barlow and Robbie Williams have been snubbed here. The panel may want to justify giving New Boring singer-songwriter Tom Odell the Critics Choice award last year, but there would surely be an outcry if David Bowie didn't get the sentimental vote and pick up his first BRIT in nearly 30 years.Who Will Win: David BowieWho Should Win: David BowieBritish Female Solo ArtistBirdy, Ellie Goulding, Jessie J, Laura Marling, Laura MvulaLaura Marling surprised everyone by pipping Ellie Goulding to this award in 2011 but considering the latter's triumphant twelve months, it's difficult to see her doing the same this year. Just as long as the caterwauling Jessie J doesn’t get her hands on it.Who Will Win: Ellie GouldingWho Should Win: Laura MvulaBritish GroupArctic Monkeys, Bastille, Disclosure, One Direction, RudimentalIt’s encouraging to see the BRITs recognise two of the year's best commercial dance acts in this category, but British Group almost always goes to a guitar band so Arctic Monkeys are almost certain to add to their tally of five.Who Will Win: Arctic MonkeysWho Should Win: DisclosureBritish Breakthrough ActBastille, Disclosure, Laura Mvula, London Grammar, Tom OdellLondon Grammar produced one of the most beautiful albums of last year with If You Wait but as this award is voted for by listeners of Radio 1, it will inevitably go to the act with the biggest fan base. Step forward the unfathomably successful Bastille.Who Will Win: Bastille Who Should Win: London GrammarBritish SingleBastille ("Pompeii"), Calvin Harris ("I Need Your Love"), Disclosure ("White Noise"), Ellie Goulding ("Burn"), John Newman ("Love Me Again"), Naughty Boy ("La La La"), One Direction ("One Way Or Another/Teenage Kicks"), Passenger ("Let Her Go"), Rudimental ("Waiting All Night")Bar Passenger's contrived snoozefest, this isn't a bad list of the best-selling singles of the last year. Again voted for by the public, One Direction will inevitably walk away with the award. But it's a shame that it'll be for their karaoke mash-up of Blondie's "One Way Or Another"/The Undertones' "Teenage Kicks" rather than the far superior "Story Of My Life."Who Will Win: One DirectionWho Should Win: Naughty BoyBritish Album of the YearArctic Monkeys (AM), Bastille (Bad Blood), David Bowie (The Next Day), Disclosure (Settle), Rudimental (Home)A welcome departure from the bombastic EDM favoured by the likes of Guetta et al, Disclosure's Settle was the album that 2013 needed. But following the return-to-form of AM, BRITs favorites Arctic Monkeys will probably pick up the second and arguably the most coveted award of the night.Who Will Win: Arctic MonkeysWho Should Win: DisclosureInternational Male Solo ArtistBruno Mars, Drake, Eminem, John Grant, Justin TimberlakePossibly the biggest snub of the awards is the lack of Kanye West, who like his former touring partner Jay-Z, has been entirely ignored in favour of Justin Timberlake's two bloated and self-indulgent comeback albums and Eminem's regressive Marshall Mathers sequel. More encouraging is this year's most leftfield nominee John Grant, but with Bruno Mars set to perform on the night, this category will only go one way.Who Will Win: Bruno MarsWho Should Win: John GrantInternational Female Solo ArtistJanelle Monae, Katy Perry, Lady Gaga, Lorde, PinkSuggesting the BRITs panel aren't too keen on the whole twerking phenomenon, Miley Cyrus is another major omission here. Lorde might be worth an outside bet but currently the most bankable pop star on the planet, Katy Perry will probably reign supreme.Who Will Win: Katy PerryWho Should Win: Janelle MonaeInternational GroupArcade Fire, Daft Punk, Haim, Kings Of Leon, Macklemore &amp; Ryan LewisIf there was an award for Best International Single, Daft Punk would run away with it. But despite the mixed reaction to their last album, the BRITs are more likely to favour Kings of Leon than any of the more adventurous names on the list.Who Will Win: Kings Of LeonWho Should Win: Haim
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Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
1/5
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Rockers Bastille and dance duo Disclosure will lead the way at the U.K.'s 2014 Brit Awards after landing four nominations apiece. The quartet's Pompeii hit will go head-to-head with Disclosure's White Noise for British Single, while Bastille's Bad Blood debut will compete against the electronic stars' Settle for the British Album of the Year prize.
The two acts will also fight it out for British Group and Best Breakthrough Artist.
David Bowie has landed a nod in the British Male Solo category, alongside James Blake, John Newman, Tom Odell and Jake Bugg, while the British Female Solo category will be a battle between Ellie Goulding, Jessie J, Laura Marling, Birdy and Laura Mvula.
Goulding has also scored a double nomination for British Single with her Calvin Harris collaboration I Need Your Love and solo hit Burn both earning mentions, while contenders for the International categories include Bruno Mars, Justin Timberlake, Katy Perry, Lady Gaga, Lorde, Arcade Fire, Daft Punk, Kings of Leon and Macklemore & Ryan Lewis.
The winners will be unveiled during a ceremony in London on 19 February (14), when the shortlists for the Brits Global Success Award and the British Music Video title will both be announced.
The full list of nominees is as follows:
British Male Solo:
David Bowie
Jake Bugg
James Blake
John Newman
Tom Odell
British Female Solo:
Birdy
Ellie Goulding
Jessie J
Laura Marling
Laura Mvula
British Group:
Arctic Monkeys
Bastille
Disclosure
One Direction
Rudimental
Best Breakthrough Act:
Bastille
Disclosure
Laura Mvula
London Grammar
Tom Odell
British Single:
Bastille - Pompeii
Calvin Harris featuring Ellie Goulding - I Need Your Love
Disclosure - White Noise
Ellie Goulding - Burn
John Newman - Love Me Again
Naughty Boy featuring Sam Smith - La La La
Olly Murs - Dear Diary
One Direction - One Way Or Another
Passenger - Let Her Go
Rudimental featuring Ella Eyre - Waiting All Night
British Album of the Year:
Arctic Monkeys - AM
Bastille - Bad Blood
David Bowie - The Next Day
Disclosure - Settle
Rudimental - Home
International Male Solo:
Bruno Mars
Drake
Eminem
John Grant
Justin Timberlake
International Female Solo:
Janelle Monae
Katy Perry
Lady Gaga
Lorde
Pink
International Group:
Arcade Fire
Daft Punk
HAIM
Kings of Leon
Macklemore & Ryan Lewis
British Producer of the Year:
Ethan Johns
Flood and Alan Moulder
Paul Epworth
Brit Critics Choice:
Sam Smith.

Universal via Everett Collection
Every movie I saw in 2013, ranked from worst to best:
112. IDENTITY THIEFThe first comedy movie to not make me laugh once.
111. SAVING MR. BANKSInsulting, manipulative, dishonest, and unkind, with occasional song breaks.
110. SCARY MOVIE 5These movies have gotten much worse since we were 13.
109. GETAWAYINT. RACECAR. NIGHT. Ethan Hawke and Selena Gomez crash into stuff.
108. GROWN UPS 2So much vomiting, so many homophobic jokes, so little plot.
107. I GIVE IT A YEARAn ugly, loveless rom-com that isn't clever enough to be satire.
106. DEAD MAN DOWNAll I remember is a whole lot of dark alleyways.
105. A GLIMPSE INSIDE THE MIND OF CHARLES SWAN IIIThe best part is the closing credits (I'm not being flip, they're actually kind of fun).
104. MOVIE 43Bad offensive joke after bad offensive joke after bad offensive joke...
103. WINNIE MANDELADesperately important story turned into a desperately dull movie.
102. TWICE BORNNo summary available due to lack of anything interesting happening in this movie.
101. R.I.P.D.Somebody forgot to give Ryan Reynolds any jokes.
New Line Cinema via Everett Collection
100. THE INCREDIBLE BURT WONDERSTONEThis movie could have been funny if Wonderstone wasn't such a d**k.
99. ONLY GOD FORGIVESInteresting in the moments when it's not shoving its unpleasantness down your throat.
98. MAN OF STEELSetup: cerebral reinvention of Superman. Payoff: mass property damage.
97. CARRIEBeat-by-beat remake without any of the original's spirit.
96. THE TO DO LISTUncomfortably raunchy and mean. Thank God for Bill Hader.
95. KICK-ASS 2More Mean Girls shtick would have benefited this weak sequel.
94. PHANTOMI'm not sure this was actually a finished movie.
93. WRONGObnoxiously nonsensical, but not without its share of laughs.
92. THE SMURFS 2Mostly cloying, but Neil Patrick Harris is incurably watchable.
91. HANSEL &amp; GRETEL: WITCH HUNTERS Dumb.
90. JOBSBoring.
89. NOW YOU SEE MEPossibly the worst ending in a 2013 movie, but a few bits of fun along the way.
88. WE'RE THE MILLERS[Pop culture reference]
87. RED 2John Malkovich's facial contortions save this from total failure.
86. STAR TREK INTO DARKNESS It hsa a few pros, but is mostly one giant... well, you know.
85. RIDDICKSurprisingly intriguing, when it isn't being deplorably sexist.
84. FREE BIRDSEh, turkeys are kinda funny.
83. PRISONERS Thankfully, scenes of Hugh Jackman yelling are intercut with the far superior scenes of Jake Gyllenhaal yelling.
82. WHITE REINDEER Any minute now, this movie is going to reveal its inner glory! Any minute now!
81. EVIL DEAD A better horror flick than the original! But still mostly forgettable.
Vertical Entertainment
80. GBFMostly charming, undone by its "safe" and "classy" ending.
79. THE RELUCTANT FUNDAMENTALISTIt's kind of hard to get past how boring the title is.
78. DESPICABLE ME 2 Lots of minions. People like minions, right?
77. JOHN DIES AT THE END Not nearly as weird as it thinks it is or wants to be.
76. 2 GUNSHey, wait a minute, this movie is kinda funny! ... Not that funny, but kinda.
75. SOMEBODY UP THERE LIKES MEI like to call this movie Click Offerman.
74. WHITE HOUSE DOWNWould be more fun if we were ready to laugh about terrorism.
73. AT ANY PRICEBoooriii— HOLY S**T WHERE THE F**K DID THAT COME FROM?!
72. BAD MILONot quite up to par with your expectations for the "Ken Marino has a demon in his butt" synopsis.
71. MONSTERS UNIVERSITYLackluster prequel, nice to look at, big band music.
70. THE MORTAL INSTRUMENTS: CITY OF BONES In its audacity, this silly amalgam of YA tropes can actually be a lot of fun.
69. THE CONJURING Fascinating subplots about the exorcism industry would be better served at the head of the film.
68. PEEPLESThere's a joke about wristwatches that I still think about.
67. SIDE EFFECTSSoderbergh's farewell caper doesn't have as much fun as its loony plot would demand.
66. ELYSIUMBroad and clumsy, but how wrong can you go with Bald Matt Damon?
65. OZ THE GREAT AND POWERFULIt works with Dark Side of the Moon.
64. THE COUNSELORThe book was better. Wait, this wasn't a book? Well it should have been.
63. IN A WORLD...A fun, biting look at an unappreciated industry! ... until it dissolves into mild genericism.
62. THE LONE RANGER Oh come on, you didn't love the William Tell climax?
61. THE WOLVERINENot always engaging, but at least it's about something.
Summit Entertainment via Everett Collection
60. WARM BODIESNot really about anything, but at least it's engaging.
59. THE BROKEN CIRCLE BREAKDOWNUndeniably powerful, but feels like it could use a few more revisions.
58. ENDER'S GAMESpace Camp: The Movie! (Slightly less expensive than actual space camp.)
57. PACIFIC RIMMonsters vs. robots aside, there's a riveting world constructed in the backdrop of this sci-fi epic.
56. ANCHORMAN 2: THE LEGEND CONTINUESThe battle royale does not disappoint.
55. YOU'RE NEXTThe fun, swift hook isn't nearly as interesting as the great character work that it replaces.
54. THE WAY WAY BACKI, too, long to get life advice from a waterpark-dwelling Sam Rockwell.
53. SOME VELVET MORNINGEven if you see the twist coming, the chemistry here is impeccable.
52. THE HUNGER GAMES: CATCHING FIREShut up, Peeta, I'm trying to watch all the good parts of this movie.
51. 20 FEET FROM STARDOMA story that deserves a little more spirit and energy than it is given in this documentary.
50. DON JONNo. 50 on "Best Movies" list, No. 1 on "Best Trailers."
49. THE ROCKETA feel-good kids' adventure substantiated by the gravities of war. Wins in both areas.
48. CRYSTAL FAIRY &amp; THE MAGICAL CACTUS AND 2012Beautifully shot, interestingly written, impressively acted.
47. MUD Yes, we all loved The Goonies, and we all loved David Wooderson, so...
46. CUTIE AND THE BOXER A vivid struggle that is equal parts artistically, martially, and internally based. Engrossing all the way.
45. CAPTAIN PHILLIPS Tom Hanks' best performance in ages in a dramatic thriller that feels real (for obvious reasons).
44. THE HOBBIT: THE DESOLATION OF SMAUG As a Legend of Zelda fan, this movie's world awakened something in me.
43. FRUITVALE STATIONThis character story is at odds with its out-universe goal, but Michael B. Jordan is unforgettable.
42. BEFORE MIDNIGHTI'm still not sure how I feel about that ending, but it was good to catch up wit Jesse and Celine.
41. DARK TOUCHEverything that Carrie could have been. A shocking fantasy about human pains.
Walt Disney Co via Everett Collection
40. THOR: THE DARK WORLDMore Chris O'Dowd.
39. BLUE IS THE WARMEST COLORIntellectually stimulating, but doesn't hit all its emotional marks.
38. THE WORLD'S ENDI've been saying "Gooey Wooey Egg Man" for months.
37. THE GREAT GATSBYLights! Music! Pizzazz! Moxy! The bee's knees! The cat's pajamas!
36. ENOUGH SAIDBest TV drama's male lead + best TV comedy's female lead = quite a charming romantic dramedy.
35. SIGHTSEERSWell, this is rather amusi— HOLY S**T WHERE THE F**K DID THAT COME FROM?!
34. THE PLACE BEYOND THE PINESNot sure if the "three stories" approach makes for the most powerful character work, but it's an enchanting ride.
33. THE WE AND THE I A bus full of inner-city high school kids turns into a magical kingdom thanks to Gondry's dreamy edge.
32. NEWLYWEEDSA love triangle with marijuana as the third party. Weighty, but never overly so, and funny throughout.
31. GRAVITY. . .
30. PRINCE AVALANCHE Heh heh, look at Paul Rudd's mustache.
29. THE WOLF OF WALL STREET Yes, we all loved the 'ludes scene. Very, very much.
28. ALL IS LOSTRobert Redford, you still got that same oomph. You too, ocean.
27. SAVING LINCOLN The weirdest, goofiest, funniest biopic about Abraham Lincoln ever.
26. THE KINGS OF SUMMER Kids run away, live in the woods, grow up, make jokes. Always a charming endeavor.
25. AMERICAN HUSTLE Little more than a cartoon, but an emotionally explosive and riotous one at that.
24. THE HEAT Melissa McCarthy insisting on stepping out of a moving car earns a full five minutes of laughter alone.
23. DRINKING BUDDIESNever dips too low on the emotional spectrum, but stays real and fresh in the face of the rom-com genre.
22. UPSTREAM COLORA difficult, confusing, harrowing thinker.
21. STOKER Somehow both effectively haunting and deliciously fun.
Room 237: the movie/Facebook
20. ROOM 237 Less a doting tribute to The Shining or Kubrick than it is to movie-lovers and their bottomless well of theories.
19. BLUE JASMINE Each party fires on all cylinders in Woody Allen's Streetcar gem, Sally Hawkins especially.
18. S#X ACTSThe sadness of this story of our youth's desperate obsession with and reliance on sex is its authenticity.
17. IRON MAN 3 The first true action comedy in Marvel's line of films shows how much fun superhero movies can really be.
16. ESCAPE FROM TOMORROW Take notes, John Dies at the End. THIS is one weird f**king movie.
15. NEBRASKA Father vs. son, past vs. present, dreams vs. reality. Everything here is touching, funny, and inviting.
14. PAIN &amp; GAIN Michael Bay talks a long, hard look in the mirror with this biting send-up of everything his other movies represent.
13. THIS IS THE ENDFar more interesting and insightful than it will get credit for being, This Is the End uses a literal apocalypse and no dearth of d**k jokes to deconstruct tenets of friendship and social politics.
12. THE ACT OF KILLING While this documentary would benefit from restructuring, the power of its message (especially its final few monents, not to mention the "anonymous"-heavy credits) is painfully resonant.
11. FROZENOffering the magic and whimsy you'll remember from time-honored Disney classics, but so much more in the way of its message, Frozen might very well be the most magnificent and meaningful animated feature yet to spring from Walt's legacy.
10. COMPUTER CHESSIt doesn't have much to say about the human condition (beyond maybe highlighting our propensity for arrogance and self-directed delusion). It doesn't tell a story that'll stick with you for very long. But Computer Chess reigns supreme as, far and away, the funniest movie of 2013.
9. SPRING BREAKERS A dark, wicked, wholly upsetting reflection of the toxic direction in which we might be headed. And James Franco gives a tour-de-force of a performance with his demonic scoutmaster Alien.
8. IT'S A DISASTER An intelligent, meticulously directed farce about group politics and conflicting personal philosophies, executed to near perfection thanks to the rhythmic participation of a more than capable cast.
7. 12 YEARS A SLAVEAn unprecedented masterpiece that sings the traumas not only of Solomon Northrup, a free man captured and sold into slavery, but in his fellow sufferers as well. For my money, the true anchor of the story is in Lupita Nyong'o's Patsey, whose suffering is unlike anything we've seen managed on the big screen in years.
6. HER With so much to say about such tremendous topics, Her manages to still dive so deep into the heart of its story: the pangs of love in the wake of the inevitable fallibilities of romantic relationships. Joaquin Phoenix and Scarlett Johansson alike give dynamic performances, and Spike Jonze mystifies us with his strange, cold, all-too-familiar world.
A24 via Everett Collection
5. THE SPECTACULAR NOWThis is one of those movies you try to convince yourself to inch out of your top 10, or five, for fear of being seen as juvenile. ButThe Spectacular Now hits such genuine notes with Miles Teller's Sutter, climaxing at a moment where you'll recognize an angst so true to life and so criminally absent from most movies about the journey toward self-love.
IFC Films
4. FRANCES HA Months and months after my first encounter with it, this deceptively simple film sticks in my head, reminding me that its every artful beat is riddled with emotional weight and ironic humor alike. Greta Gerwig and director Noah Baumbach give us the a New York movie to rival Annie Hall, zooming in and out of the perspective of the young women and men who occupy, and drown within, today's version of the biggest, most stupefying city in the world.
CBS Films
3. INSIDE LLEWYN DAVISSadness, coldness, loneliness, failure... such wonderful things when handled by filmmakers like the Coen Brothers. Padding this antithesis of triumph with some of the most beautiful, somber music you'll hear all year, Inside Llewyn Davis makes us fall in love all over again with the very idea of the artistic struggle.
Touchstone Pictures via Everett Collection
2. THE WIND RISESHayao Miyazaki's final movie doesn't pass judgment on its hero, a man so devoted to his work (building weapons) that he neglects his wife, sister, and friends. It doesn't endorse these choices either. Instead, it hones in on the passions of its hero/antihero, challenging us to sympathize with a fellow whose only desire is to do his job while we lament his sacrifices. More even than Gravity does the frequently airborne animated picture induce dizzy spells as we connect with the conglomerate of colorful, intriguing characters in this grim but dainty biography.
Cinedigm via Everett Collection
1. SHORT TERM 12 There are so few flaws to highlight in The Wind Rises, Inside Llewyn Davis, Frances Ha, and the other entries on this top 10 list. What separates Short Term 12 is not a complete lack of error, but in an umatched spirit for the telling of its story. The movie wants us to feel the pains of counselor Grace (Brie Larson) and the disavantaged children for whom she cares, highlighting abused Jayden (Kaitlyn Dever) and orphan Marcus (Keith Stanfield). It also wants us to feel the hope that it brings to these characters in their plight to overcome the hands they have been dealt. Every emotion in this movie carries through with such force. For those of us who know any of these trials personally, they ring tremendously true. For others, they work to invite you into this sad but hopeful world. We've been gifted with a ton of exemplary cinematic works this year, but nothing sticks with me more than this tearful, heartrending masterpiece.
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